Like many bass players, I could walk a bass line. I was keenly aware of the harmony of a song, at least in its linear form. But as a musician there were two important things missing from my playing: an understanding of the melody and the subtle and beautiful vertical aspect of the harmony. In order to develop a better understanding of the entire song, I started to incorporate the harmony, melody and bass line of jazz standards in chord-melody style arrangements. Writing, arranging and playing in this style has opened new horizons for me:
 

1. I am a better musician and therefore a better bass player.
2. I have a greater understanding of the way each chord functions in a song (functional harmony).
3. I have been able to play in non-standard combo situations (i.e. bass and trumpet duet), due to my ability to cover more parts.
4. I have a better "trained" ear.I am a better soloist, having a deeper understanding of the melody and its related harmony.

In 1979 I made my first attempt at a chord-melody solo arrangement for bass. I chose Errol Garner's "Misty." Around the same time, many bass players were very busy transcribing the solo pieces of Jaco Pastorius, such as "Portrait of Tracy," "Continuum" and his arrangement of "Amerika." Bass playing was no longer just root-five. The great bass players of today can do it all. They can play chords, melodies, solo as well as lay down a groove. Jaco and Stanley Clarke led the way. Bassists, including Victor Wooten, keep the flame burning. These players have demonstrated the limitless possibilities of the bass. This book, inspired by the work of these and other great bassists, can open new realms of playing for you.

The techniques and arrangements presented in this book have been developed especially for the four string electric bass using standard playing technique. They were arranged to take full advantage of the potential of the electric bass. Most importantly they sound "hip." I believe any bass player with fairly good technique should be able to play these.

The main purpose of this book is to open the doors for you as a player; to let you in to some new techniques and theories that will expand your musicianship. Using the lessons and learning the arrangements that follow will enable you to:

1. Gain a better understanding of the melody and harmony of a piece and their relationship to each other. This is crucial in the development of bass lines and solos.
2. Play chords. Playing chords will give you an understanding of harmony and make reharmonizations easier and more creative.
3. Accompany ("comp") a song with chords and a bass line. This will fill out an ensemble's sound, making you a more valuable player.
4. To gain a better understanding of the upper portion of the neck of your bass.
5. Further develop your "ear," as you will be playing in a different style.
6. To have another tool that you can use for practice, performance, composition and arranging.
7. Impress bass players and musicians alike. These arrangements and arrangements that you write, in this style, sound "hip!"